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Monday, 21 March 2016

Musical Cult Control Part 1

"Music is the opium of the
mediocre." – Aleister Crowley (diary, 15 July 1936).

Musical cult control: The Rockefeller Foundation’s war on
consciousness through the imposition of A=440hz standard tuning

By Leonard G. Horowitz, DMD, MA,
MPH, DNM(hon.)

Part 1

“Bio-creation, and health restoration, may have more to do with
frequencies of sound energy, or music, than has been previously thought.”

Abstract

This article details events in musical history that are central to
understanding and treating modern psychopathology, social aggression, political
corruption, genetic dysfunction, and cross-cultural degeneration of traditional
values risking life on earth. This history concerns A=440Hz “standard
tuning,” and the Rockefeller Foundation’s military commercialization of music.
The monopolization of the music industry features this imposed frequency that
is “herding” populations into greater aggression, psychosocial agitation, and
emotional distress predisposing people to physical illnesses and financial
impositions profiting the agents, agencies, and companies engaged in the
monopoly. Alternatively, the most natural, instinctively attractive,
A=444Hz (C5=528Hz) frequency that is most vividly displayed botanically has
been suppressed. That is, the “good vibrations” that the plant kingdom
obviously broadcasts in its greenish-yellow display, remedial to emotional
distress, social aggression, and more, has been musically censored. Thus, a
musical revolution is needed to advance world health and peace, and has already
begun with musicians retuning their instruments to perform optimally, impact
audiences beneficially, and restore integrity to the performing arts and
sciences. Music makers are thus urged to communicate and debate these facts,
condemn the militarization of music that has been secretly administered, and
retune instruments and voices to frequencies most sustaining and healing.

Introduction

Contrary to popular opinion, the most powerful “hard” science
influencing society, politics, and economics is behavioral science. This
generally neglected fact enables advertising agencies, social engineers,
marketing firms, and the persuasive media, to direct people, like cattle, most
profitably.

A flock of sheep, for example, according to the MerckVeterinary Manual, responds synchronously to stimuli, such as approaching dogs or humans,
due to a special set of nerve cells that fire electrically causing the release
of stress hormones associated with the flight response and herd behavior.(1) Malcolm
Gladwell’s, The Tipping Point: How Little Things Can Make a BigDifference, cites social examples of the small levels or percentages of a total
population required to act, “at which the momentum for change becomes
unstoppable” for the entire social network.(2)

There have been many unexplained “mass hysteria” episodes recorded
besides the War of theWorlds fright that was broadcast by CBS Radio and narrated by Orson Welles, on
October 30, 1938.(3)
Bartholomew called a related public health crisis, “OccupationalMass Psychogenic Illness” in Transcultural Psychiatry.(4) Wessely
added the warning that this bizarre herd behavior impacting health and
well-being reflects poorly on our mass mindset inspired by the terroristic
media. He wrote:

“[I]t is easy to lose sight of the dynamic, protean [varied] nature of
mass sociogenic illness and its historical and transcultural manifestations,
which mirror popular social and cultural preoccupations that define each era
and reflect unique social beliefs about the nature of the world.”(5)

Background

Assuming the field of physics, including biophysics, is valid, and the
universe, including life, is primordially constructed energetically -
mathematically/harmonically/musically - energy (including bioenergy or
spirituality as a medium of consciousness) impacts us physically very
powerfully, and is mediated vibrationally, really hydrosonically, through
sounds’ effects on water.(6)

Water, nearly eighty percent of human body weight,
is a liquid crystal superconductor. “Structured water” science,(7) as well as
the field of electro-genetics,(6) proves
this thesis adequately, given light (photons) and sound (phonons) have been
shown to signal communications within and between cells , via a liquid crystal
proteo-glycan matrix in cells and tissues.(6) This
strongly evidences the theory of hydrosonic creationism involving DNA and
structured water.(7) Thus,
bio-creation and health restoration may have more to do with frequencies of
sound energy, or music, than has been thought.

There are a lot of people who consider modern music annoying. Many
become emotionally disturbed listening to certain types of music. What few people
realize, regardless of the type of music played in the Western World, the
standard Anglo-American tuning for instruments and voices was instituted at the
same time, by the same agents and agencies, advancing acoustic war studies for
inducing “mass hysteria.”(8)

Analyzing the antecedents of current geopolitics
and economics, this dirty fact of musical history may be foundational to the
status-quo, and instrumental to contemporary sociocultural crises, including
modern pandemic psychopathology.

Throughout history there have been persons of wealth and power engaged
in war-making, profiteering, and various methods of population control. In
1770, for instance, Mayer Amschel Bauer (a.k.a., Rothschild) developed plans
for the creation of the Illuminati, advancing the mission of global domination
through a network of central banks that his family and their silent partners
controlled.(9, 10) Many
reputable authors track today’s degenerative socioeconomic trends, and
aboriginal genocides, to the Illuminati’s powerful influence administered
through private organizations controlling multi-national corporations and
governments (i.e., secret societies and governing councils, such as the Council
on Foreign Relations).(6-15)

“As a result of this influence,” wrote Thomas D.
Schauf, in a controversial review article and commentary urging the termination
of the un-American Federal Reserve Bank, and the offshore bankers’ control over
the U.S. Treasury, “the arc of Western Civilization has gone from
‘ascent’—belief in God—focused on the higher centers of love, joy, purity and
selflessness, to descent . . . focused on the lower centers of consciousness
like those of power, wealth and physical gratification. The apex was called the
‘Enlightenment,’ when the ‘Illuminated ones’—a Luciferian term meaning ‘keepers
of the light’—took over for God. Typical of Satan, decline into moral darkness
is represented as light.”(11)

Light and sound is generated and measured
mathematically, according to frequencies. It stands to reason then, following
Schauf’s empirically evidenced thesis, we are engaged in a “conspiracy reality”
in which ultimate power and control is waged bioenergetically (i.e.,
biospiritually), through frequency modulations or electromagnetic manipulations
affecting “consciousness” and impacting biology, physiology, and human
behavior.

The Rockefeller Foundation and Military Music

In 1913, the Rothschilds set up their third and current central bank in
America, the Federal Reserve Bank, with the help of their agents JP Morgan and
JD Rockefeller, whose investments in American industry had been
Rothschild-financed since 1865. (9, 11)

World Wars I and II evidence the banking cartel’s
profitable depopulation politics and policies. For instance, in 1914, at the
beginning of World War I, the German Rothschild bank loaned money to the German
government, the British Rothschild bank loaned money to Britain, and the French
Rothschild bank loaned money to the French government. War propaganda served
the Rothschild’s geopolitical and financial agendas, and was provided by the
three main European news agencies, Wolff in Germany, Reuters in England, and
Havas in France, each financed by Rothschild banks. (9, 11)

Between World Wars I and II, accelerating during
the 1930s, scientific studies in musical frequencies best suited for war-making
were funded by the Rothschild-Rockefeller alliance, represented by the
Rockefeller Foundation and U.S. Navy.(8-11)

A major objective of this war, and profitable population control,
research was to determine the musical factors capable of producing
psychopathology, emotional distress, and “mass hysteria.”(8)

Academically directed by grants provided by the Rockefeller Foundation,
in concert with the US Navy and National Defense Research Council according to
the foundation’s archives, acoustic energy researchers, including Harold
Burris-Meyer, an audio engineer and drama instructor at New Jersey’s Stevens
Institute of Technology, were commissioned.(8)

Burris-Meyer is best known for providing consulting services to the
Muzak Corporation, “which used his expertise to optimize sound installations in
factories so that emotional motivation of workers achieved through music would
not be adversely effected by factory noise . . ,” wrote James Tobias, a
Professor of English at the Univ. of Calif.(8)

Burris-Meyer, according to Tobias, contributed to the Department of
Defense during World War II, “including building speaker arrays deployed on
warplanes such that enemy combatants could be addressed from the air” to
produce psycho-emotional affects leading to “mass hysteria.”(8)

Additionally, the Princeton Radio Project played a role in this
research. This occurred precisely at the time the atomic bomb ManhattanProject was beginning at Princeton involving Albert Einstein at the Institute
for Advanced Study (IAS).(12)

Poisonous Medicine and the Rockefeller Foundation’s Investments in
Sickening “Music”

Linking this “conspiracy reality” to the development of music for “mass
hysteria,” and aversive public health impacts, the IAS “think tank” was formed
from the “vision of founding Director Abraham Flexner,” according to the IAS
website.(13) The infamous Abraham Flexner, educated
in Germany and America, on staff at the Carnegie Foundation, and funded by the
Rockefeller Foundation, sourced the American medical reformation following US
Congressional acceptance of his “Flexner Report.”(14) This infamous treatise exclusively benefited the
Anglo-American IG Farben-Rockefeller petrochemical-pharmaceutical alliance that
vilified every form of natural healing to monopolize healthcare. Based on
Flexner’s report, advancing the Rockefeller’s agenda, the US Government
exclusively imposed medicine’s reliance on deadly, not curative, drugs as is
ongoing today.

The Rockefeller Foundation’s Assistant Director for the Humanities at
the time Flexner compiled his report was John Marshall, who along with the authors
of Composing for the Films (Oxford University Press, 1947) Hanns Eisler and
Theodor Adorno, were featured performers in the musical projects serving
military and commercial interests, juxtaposed with artistic and philanthropic
objectives.(8)

As this research and development of the broadcasting industry advanced
to impact “herd behavior” and public health, it is clear that any malady
generated musically/vibrationally (i.e., bioenergetically), would increase
investors’ profitability.

Although Eisler or Adorno appear to be innocent of wrongdoing, according
to Tobias, both were unfavorably treated by project officials. Eisler opposed
the militarization of music used for cultural manipulation, and was eventually
deported following years of harassment by the Federal Bureau of Investigation
(FBI). This publicity generated embarrassment for the Rockefeller Foundation. (8)

According to Tobias, Burris-Meyer became convinced that “audio control
of human emotions was possible for a large enough portion of an audience to
provide effective crowd control – a line of research,” that John Marshall,
“ultimately found irrelevant for understanding the artistic or cultural values
of music. . . . ” but obviously fulfilled a military objective.(8)

This best explains why this activity is linked in time, subject matter,
Foundation funding, and the Rothschild-Rockefeller increasing war investments
in Germany, Great Britain, and the US, to establishing the Western World’s
standard musical tuning of A=440Hz frequency.

The fact that A=440Hz standard tuning is relatively distressing, as
adequately evidenced below and elsewhere,(7, 20-22) implicates these parties and their
research into aversive musical frequencies for military and commercial uses.

Sequestering the History of A=440Hz Tuning

Raising more suspicion, when I personally contacted
Professor Tobias to request
his consent to link his online paper to this article, to pull quotes of up to
600 words from it, or receive a submission from him for publication in Medical Veritas journal, he
declined saying he did not wish to jeopardize future publication of his work.
However, a simple Internet search located his manuscript already published by
the RockefellerArchive Center with the following ethically repugnant notice:

“This research report is presented here with the author’s permission but
should not be cited or quoted without the author’s consent. . . .

“Rockefeller Archive Center Research Reports Online is a periodic
publication of the Rockefeller Archive Center. . . . intended to foster the
network of scholarship in the history of philanthropy and to highlight the
diverse range of materials and subjects covered in the collections at the
Rockefeller Archive Center. The reports are drawn from essays submitted by
researchers who have visited the Archive Center, many of whom have received
grants from the Archive Center to support their research. The ideas and
opinions expressed in this report are those of the author and are not intended
to represent the Rockefeller Archive Center.” (8)

Frankly, under “fair use” copyright laws, Dr. Tobias, and the
Rockefeller Archive Center, has zero right to prohibit his Internet published
work, currently available for review here, (8) to be
withheld from public scrutiny and scholarly commentary, particularly as it
involves matters of widespread psychosocial pathology, public health, and
national security, not simply “the history of philanthropy.”

For the record, Dr. Tobias neglected to reply to my invitation to
prepare a Medical Veritas submission, or consent to be interviewed by me on
this topic.

Bioenergetic Music for “Mass Hysteria”

Tobias’smanuscript makes it clear that he was alarmed at his discovery that bioenergetic
research in acoustic science focused on producing the social impacts of
emotional arousal and even “mass hysteria.” This research included
“investigations in ‘physical analysis’ of sound effects, . . . an
established technique which others may use in practice dependably . . . ,” the
determination of measures by which audience reactions could be accessed, “’even
without any technical capacity for psychological measurement of audience
response,’” and the use of sound effects that “produced what was really mass hysteria.”(8)

Tobias noted the Foundation-funded investigations
extended to “‘average tolerance of sound effects of different intensities and
of different frequencies,’ or . . . the effectiveness of sound in relation to
different noise levels . . . (Page 66). “[T]he clear interest here seems to be
in the ‘dramatic’ use emphasized in . . . bringing audiences, with the use of
the ‘sensory appeal’ of sound effects, to states of ‘mass hysteria.’”(8)

These revelations best account for the “mass hysteria” demonstrated by
audiences responding to “Rock-n-Rollers,” initially Elvis Presley, followed by
the “British Invaders.” It was recently revealed that The Beatles were
barred from performing in Israel following an investigation that prompted the
education ministry to conclude the Beatles’ performances caused:

"[H]ysteria and mass disorder. . . There is no musical or artistic
experience here, but a sensual display that arouses feelings of aggression
replete with sexual stimuli."(26)

At that time, the Israeli Mossad was effectively tracking Her Majesty’s
Secret Service (MI6) and CIA’s military interests, as it had been since
WWII.(6,10,14) In 1938. the British-American radio and television cartel was
funded and administered by the Rockefeller Foundation, also funding Jewish hate
and administering Nazi eugenics.(29) This Anglo-American media connection was
evidenced by Michele Hilmes.(15)

On August 31, 1957, hysterical crowds trampled
people, including Canadian reporter, John Kirkwood, who wrote: “It was like
watching a demented army swarm down the hillside to do battle in the plain when
those frenzied teenagers stormed the field. Elvis and his music played a small
part in the dizzy circus. The big show was provided by Vancouver teenagers,
transformed into writhing, frenzied idiots of delight by the savage jungle beat
music. A hard, bitter core of teenage troublemakers turned Elvis Presley’s
one-night stand at the Empire Stadium into the most disgusting exhibition of
mass hysteria and lunacy this city has ever witnessed. . . . Colonel Parker
also enjoyed reading the accounts of the riot the next day.”(16)

It turns out that Colonel Tom Parker, Elvis’s manager, was suspect for
illegally joining the U.S. Army as a European immigrant. He broke his
co-management contract with Hank Snow for exclusive control over Elvis’s
career, developed Presley’s contact with RCA (discussed below), and worked
under the alias of “Col. Tom Parker,” a name that he secretly stole from his
Army base commander, Captain Tom Parker. His real name was Andreas Cornelis
("Andries") van Kuijk.(17)

Thus, the Empire Stadium riot pleasing to “Parker” was most likely a
successful US military-RCA experiment to induce “mass hysteria,” especially
since RCA, according to Tobias, was a major participant in the Rockefeller
Foundation-funded research to musically produce this precise audience impact.(8)

RCA, GE and the Navy

During WWI, US Navy suppressed patents owned by the
major companies involved with radio manufacture in the US facilitated the
Brit’s war effort. All production of radio equipment at that

time was allocated for the Army and Navy. The Navy
sought to maintain a Rockefeller-administered military-government monopoly over
the radio industry featuring advances in wireless radio.

This wartime command over radio never ended, as some believe, due
to the specious congressional indecision the Rockefeller leadership forced
regarding the maintenance of the supposed governmental control over radio in
1918.

The questionable (mis)direction of the corporatist-government monopoly
did not prevent the Navy from creating a national radio system. On April 8,
1919, US Navy officials met with General Electric Company (GE) executives to
develop an American owned radio company, so that the Navy could continue
operating as a “front,” exercising its control over the commercial radio
monopoly. The resulting purchase of American Marconi by GE satisfied this
command and birthed the Radio Corporation of America (RCA).

The incestuous commercial-military cartel that formed included RCA,
General Electric, United Fruit, Westinghouse Electric Corporation, and
AT&T. This alliance laid the groundwork for fascist control over the energy
industries, including human energy (bioenergy) and spirituality that overlaps
electro-genetics, and the eugenics and psychiatric genetics movements advanced
at that time by the same players.(18)

The resulting developments included the National Broadcasting Company
(NBC), and a government created monopoly in radio and television, with AT&T
controlling telephone communications.(6, 7, 18)

Hilmes’s review of Rockefeller Foundation archives
proves that a major objective of the cartel was to coordinate British and
American corporate and military interests in radio research and television
broadcasting, initially featuring the BBC and RCA. Tobias’s review showed their
research focused on psychotronic warfare, physiological stress induction,
negative affective (emotional) arousal, mass persuasion, herd behavior, and
population control. This “black op” is evidenced in many ways aside from
the communications reviewed by Tobias and Hilmes.(8, 15)

October 6, 1938, for example, the year before
A=440Hz standard tuning was adopted, researcher David Stevens wrote to Frank
Jewett, vice-president of ATT, regarding studies to “control the emotional
response of audiences by mechanical means.” Jewett’s response letter of October
11, 1938, noted Bell Labs officials expressed “embarrassment” for the company’s
involvements in this nefarious project, despite its profitable applications and
military merits. (8)

“Thus,” Tobias wrote, “this project was a typical Rockefeller Foundation
project, in that the goals were partially speculative, but grounded, always, in
establishing institutional networks that might ultimately grow into much
larger, actually feasible mass media development projects serving commercial
interests but having ‘educational’ or ‘dramatic’ uses.” Military, or
“non-commercial, ‘social research,’ was an important way in building not-yet
commercial mass media systems and applications . . .” (8)

This research was eventually applied in the development of modern
methods of public persuasion, and cultural indoctrination, by television and
radio networks currently considered “the mainstream media.”

It must be emphasized that by 1961, according to a series of Rockefeller
Brothers Fund reports concerned with their search for America’s “National
Purpose,” that We The People would be governed by the assertion that a “prudent
corporate and military leadership of the National Security State could link
guns, butter, and the new technology of missile and nuclear weapons production
to the cause of Freedom and the Free World.”(7; p.204)

The Media Applies Military PsychoScience

According to the Rockefeller Foundation’s archives, the Rockefellers
financed and helped organize the military media monopoly over
broadcasting, and through various forms of “education,” the programmable
public’s mindset.

Tobias, neglecting the foundation’s cartel arrangements, noted that
television competition between NBC and CBS was “secretive and fierce as
production went into experimental phases. . . .” (8)

Evidencing the intended illusion of competition, Congress, in 1974,
investigated the Rockefeller-directed Chase Manhattan Bank's stakes in CBS and
NBC, that rose to 14.1 and 4.5 percent, respectively through NBC’s parent, RCA.
The Congress recorded that the Chase Manhattan Bank held stock in 28
broadcasting firms, including start-ups based on musical intelligence. After
this report, the Chase Manhattan Bank obtained 6.7% of ABC. The bank only
required five percent ownership to significantly influence “programming”—a
“psyops” term meaning educational indoctrination, otherwise called
propaganda—for sociocultural engineering. (11)

Tobias continued, “Burris-Meyer wanted to measure audience response to
the sound effects, and considered wiring audience members with a
‘psycho-galvanometer.’” (8)

According to televangelist, turned enemy of the
pagan corporatist state, Pat Robertson, the CHASE bank is a wealthy shareholder
in the FED. “It is believed other FED owners have similar holdings in the
media,” Robertson cautioned in his book, The New World Order. “To control the
media, FED bankers call in their loans if the media disagrees with them.” On
page 131, he recommended abolishing the FED.(12)

John Marshall wrote that for responses to sound to be effective,
“emotion involvement is required. If the psycho-galvanometer gives even a rough
measure of emotional involvement, perhaps that is sufficient for Burris-Meyer’s
purposes.” Marshall then “urged Burris-Meyer to seek consultation from
psychologists who had consulted on the Princeton Radio Project, . . .
Thereafter, Burris-Meyer worked through the American Film Center to experiment
with the recording of sound effects on film.” (8)

Tobias noted that RF offered network broadcasting and industrial
connections to their grant awardees that assured success in the industry and
dispersion of research developments with commercial value. “Rockefeller
support,” he wrote, “particularly through Marshall’s insights and wide ranging
personal network, typically and vastly expanded the human and institutional
resources of any project grantee, in addition to monetary support. . . .” (8)

”[M]usicality enabled a ‘technicolor’ proof of
affective public address,” Tobias added, “raising the possibility of greater
audience involvement and the spectre of greater audience manipulation; the
clear educational and commercial application for musicality as ‘control’
stressed in Burris-Meyer’s ‘sound show’ . . . in works like Disney’s Fantasia,
were as much justifications for, as much as demonstrations of, the use of
[these] advanced [acoustic warfare] technologies . . .” (8)

Introducing A=440Hz To Professionals

The introduction of electronic sound for stage, screen, and television
did not proceed fluidly.

In 1910, motivated by a grant provided by the Rockefeller Foundation for
the American Federation of Musicians, the initial effort to institute A=440Hz
standard tuning had limited success in America. In Europe, the initial
effort had near zero impact. Additional promotions were needed to secure the
music world’s acceptance of A=440Hz that was perceived as less pleasant, or
dull when compared with other frequencies described below.

Ironically, and most revealing about the Anglo-American cartel
arrangement, to persuade European musicians to accept this tuning, and the
British Standards Institute (BSI) adoption of it in 1939,
Rockefeller-Rothschild “black-op” officials employed Nazi party propagandist,
Joseph Goebbels. At that time, Goebbels was advancing to become England’s
greatest media nemesis.

Lynn Cavanagh reviewed the history of standard musical tuning
and determined that contrary to propaganda, and current consensus, it was 1939,
not 1938, as the true year the British Standards Institute (BSI) adopted the
A=440Hz standard promoted by the Rockefeller-Nazi consortium.(16) At the time, England was about to declare war
with Germany, so surely MI6 would have known of Rockefeller’s alliance with IG
Farben, the Standard Oil Company’s fueling of Hitler’s military build-up
against Poland, and the funding of Hitler by the Rothschild-Rockefeller-Warburg
family bankers backing IG Farben and the Nazi’s as partners in their emerging
genocide.

In other words, the A=440Hz frequency was
instituted at the precise time WWII preparations were being finalized by the
petrochemical-pharmaceutical war financiers. Hitler’s Germany invaded Poland
officially starting WWII on Sept 1, 1939. Only three months earlier, following
widespread rejection of the A=440Hz frequency vibration by musicians worldwide,
Nazi propaganda minister Joseph Goebbels argued on behalf of this, apparently
very important, intrusion into musical artistry, effectively persuading
Hitler’s supposed enemies in Britain to adopt this allegedly superior standard
tuning for the “Master Race.”

After the war, the Rockefeller Standard Oil Company was indicted by a US
Federal Court, as an “enemy national,” that is, an American traitor.(16)

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About Me

Born on 25 November 1965 and currently living in Yorkshire, England. I write songs and books and have a website that serves as a platform for my work as well as being an Ascension resource. The Treasure Chest displays all chapters of The Monstaville Memoirs trilogy as well as further insights from various sources relating to the themes of these books. The Powerlessness of Now reveals the many ways in which we have given our power away to the Establishment through its web of control.